Watch Max My Love For Free

Slow pace in the most part of the movie.

hyped garbage

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

MAX, MON AMOUR received a tepid reaction when it debuted in Cannes in 1986, a French- American co-production under the rein of the late Japanese provocateur Nagisa Ôshima (1932- 2013), which would become his penultimate feature film. Since then, it has become a succès de scandale which is less being watched than hyped due to its subversive content, but in fact, most of the time, it suffices as a tongue-in-cheek comedy, a marital satire borne out of Jean-Claude Carrière's urtext, Peter Jones (Higgins) is a liberal-minded British diplomat working and living in Paris, one day, to his utter dismay, he finds out the paramour of his wife Margaret (Rampling), is a male chimpanzee named Max, beggar belief, the couple decides to try out a kind of ménage-à-trois by bringing Max into their official residence, where also lives their towhead school-age son Nelson (Hovik), and believe it or not, in the end of the story, their co-habitation actually works. Cagey about the salacious details of the relationship between Margaret and her "supposed" primate lover, Ôshima sides with the husband's point-of-view to parse the couple's tug-of-war, firstly, Peter takes up the gauntlet to show his magnanimity by accepting the situation without letting it get under his skin, then, driven by curiosity and jealousy, his attitude towards Max seesaws between hostility and respectable concern, an experiment of corroborating the inter- species sexual act is a bust, whereas an episode of shotgun scare is just a cheeky practice of cheap tension.It is an immoral cock-and-bull story, menace is palpable, but vice has never descended into the picture and what sagaciously affirming is the film's brazen stance on the dynamism between the couple, it is always Margaret who has the say-so in their states of affairs, however preposterous and quixotic, there is a deep respect unites them as an entity, Peter stoutly fights her corner in the face of extrinsic parties, whether it is a zoologist or a neuropsychologist, accordingly, she also quite frank about her feelings, even stays on friendly terms with Peter's secretary-cum-lover Camille (a gratingly loud Diana Quick). It is a surprise that Ôshima chooses not to go out on a limb in salting the plot by bestowing Max with a feral complexion, alternatively played by real chimps and stunts in verisimilar costumes (solely by this reviewer's reckoning), Max is presented as a meek pet, not dangerous, sulky at most, albeit his human-like size, even becomes mawkishly lovelorn and loses his appetite when Margaret is absent. Granted, there is a touching and tender naiveness seething beneath its surrealistic premise, which also is not exactly congruent with Ôshima's make-up if one might venture to surmise. Both Rampling and Higgins tackle the thorny subject with bravura, what percolates from their collective effort is a beguilingly unfeigned sophistication stemming from a bourgeois background, and Ôshima conspiratorially sends up their caprices with deadpan seriousness, not to mention a non sequitur triumph appended to the part where Max momentarily goes missing in the woods. Ultimately, MAX, MON AMOUR doesn't come to provoke moralists, but offers a keyhole for the audience to observe a behavioral pattern says as much of living beings' universality as their idiosyncrasy, the point is made, but reverberations are somewhat deadened when Ôshima settles for a middle road between "funny and die" in his overall approach.

This is a humorously brilliant little film from renown Japanese director Nagisha Oshima with dialogue which flows between French and English and a storyline all about Zoophilia. Nicely compliments the newly released R-100. They would make a nice double feature together.The film follows a French diplomat who suspects his wife is having an affair, after he finds out she has been secretly renting a second apartment from a private investigator he had hired.When he goes to investigate for himself, he walks in on his wife....naked...in bed with a Chimpanzee.Flabbergasted by the whole thing, he doesn't know what to think.But, out of sheer curiosity, he accepts his wife's kinky fetish...and even asks her to bring Max (the chimp, which is more likely some dude in a chimp costume...or a puppet) to come and live with them and their son.The most awkward and hilarious scene occurs when the couple has friends over for dinner- during which they hear Max screaming. Curious themselves, they ask to meet him. But when they bring him out he pretty much molests his human lover in front of their friends.The film focuses less on the lustful aspects of the human-chimpanzee relationship, though, than it does on the psychological journey which our protagonist is swept through, as he tries to understand his wife's psychological condition...not to mention an attempt to fathom what exactly goes on between them behind closed doors. He needs to know...and it's driving him mad.The entire spectacle is hilarious, and filled with bestial and zoophilic innuendo. Like when Peter's secretary/mistress set's the Queen up to visit a stud farm. At one point, Peter (the husband) hires a prostitute, and pays her to attempt to get Max to have sex with her...so he can watch (although, as it turns out....she wasn't his type...totally mine though!).While hilarious from start to finish, I wouldn't exactly qualify this explicitly as a comedy. It's comedic element is more a result of the truly bizarre nature of the thematic content (from the perspective of general normality, if such a thing exists), than it is from a brazen attempt to make you laugh. The jokes require a bit of reflection, at least.When all is said and done this a truly imaginative and deviant piece of cinema that should be experienced by everyone. It will make you think. It will make you laugh. And it will make you go "WHAT THE F**K!?". What more can you ask for, really? Oshima has nice framing too! 8.5 out for 10.

Interesting - an international co-production that results in a real creative fusion, not the usual mush. This movie pits deadpan surrealist aesthete Jean-Claude Carriere's script against tantrum-prone transgressor Oshima in the service of a narrative where Charlotte Rampling falls in love with a chimpanzee. In spite of the rampant in-your-face perversity, though, Carriere holds the balance of power - Oshima wouldn't have thrown in that climactic victory parade, and I doubt he could have pulled off such an informed spoof of the French bedroom comedy on his own. The bemused passivity of the husband can get a little cloying, but it's pretty remarkable how viscerally sensual the movie gets in the Rampling-chimp lovey sequences. And that goes double once you realize that it ain't no chimp - it's another Rick Baker masterpiece for ya, so that makes three auteurs.

A peculiar love triangle. English ambassador Peter Jones (Anthony Higgins) sends a detective to find where his wife Margaret (Charlotte Rampling) goes nearly every day. She has taken a small flat, and he goes there, only to discover that her lover is Max—a chimpanzee. Max comes to live with them, and jealousy complicates matters. It's hard for Peter to accept that Margaret loves both of them. The story is resolved with understanding. As a fable about sex, it remains puzzling, though probably the moral of the story is that people like different things, and if nobody gets hurt, what's the big deal? The plot itself, of course, is absurd, and some of the fringe characters play it for comedy, especially the experts the Jones' friends try to introduce, and the maid Maria (Victoria Abril), who seems to be allergic to Max. But the center of the film is tense, even severe at times. Still, Peter is mostly elegant and bothered in much the same way he'd be bothered by jealousy accompanying the usual sort of affair, and Margaret is smiling and self-possessed and calm. Rampling and Higgins play perfectly in the mode of comedy that has its characters act around a crazy premise as if it were ordinary, and so the film is improbably charming.